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tv   [untitled]    May 11, 2012 3:30pm-4:00pm PDT

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work. we will see you there. [applause] >> it is a broad array of corporate partners we have. bank of america is our presenting sponsor. i also want to acknowledge our sponsors for the season. that includes at&t, the air quality district, blue shield, united health care workers, kaiser permanente day, shape up san francisco, and clear channel radio. let's give them all a big hand for stepping up to support us. [applause] anybody who has been to one knows that there is one person who is the driver to make this happen. if you are out at sunday streets, you will see that bicycle up and down the streets.
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this is the person on the ground that makes these things happen. she is the mother or queen of sunday streets. susan king. [applause] >> thank you for embarrassingly. i appreciate it. i am humbled -- thank you for embarrassing me. i appreciate it. i am humbled by the support of the community and how quickly people have embraced it. it is a team effort. i am a team player. i am the man behind the curtain. we can be whatever we want to be for a day. i really wanted to acknowledge some of our people. i would be remiss not to point out our fabulous and hard- working staff people beth and bo. [applause]
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they are the reason we're able to get the various pieces moving. i wanted to talk about our other partners, financial supporters, and city agencies that bring their a game out every sunday. we have now had 28 of these events since august of 2008. the department of public works for whom both badly and both . did the department of public works whom both ed lee and ed risken headed up. the san francisco examiner, there is the map in the program guide. they have been doing that for the last two years giving as a free full-page ad. i see people carrying it around. i know people look for it.
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our bicycle programmers, sports basement the city's official bike vendor brings out free bicycles for people to use. i do think people loose -- who have an opportunity to ride are more likely to stay active and keep bicycling. we will highlight some of the benefits. the professor has been a driving force behind capturing what sunday streets is. the san francisco bicycle coalition, the outdoor roller board association, the godfather of skates who invented recreational asphalt, happy hound pet massage, dance
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connection, are some of our regulars. who might predicting? a couple of community sponsors. buy rite markets, lennar, and the university of southern california's san francisco have also provided resources and funding to keep the program going. thank you. [applause] >> you can see it takes a village to make these things happen. part of that village is a partner. presents the change in design sensibility i spoke of. we're thinking of our public rights of way for not just one mode of travel. we're redesigning them for pedestrians and bicycles. bicycles are a big part of sunday streets. you will always see the orange bicycle down there. that is written by the leader of
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cycling, the executive director. >> thank you. happy fifth anniversary, the streets. supervisor, you talked about the hesitancy in the beginning. there is no hesitancy today. you can see the full family of city hall here. i want to thank the community leaders who have fully embraced sunday streets and advanced it. they have made it much bigger and richer in the neighborhood. i live in mission. it is exciting to hear people say i have never been to lower 24th. you hear this every time. we love the physical activity and open space. we love the recreation. one thing i love most is inviting people into different neighborhoods they may have never experienced.
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time and time again, we hear people say i went to third street for the first time. we hear this on lower 24th and parts of the tenderloin. people come and experience different parts of the city. that is a success story. i was at the embarcadero last month. an older gentleman pulled up with a million questions about sunday streets. i describe it. he was from out of town. i asked if he just happened upon sunday streets. he said he came into town last week for a conference and wanted to try it so he extended his trip two days. he is stuck around for the whole weekend. i assume he is paying hotel rates and tax, spending money on food, and experiencing our city. the tourism and economic benefits are there.
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if you have not volunteer, is not too late. we're proud to be a volunteer organizer. we're still looking for folks. look up again, happy anniversary, the streets. -- sunday streets. thank you. [applause] >> she represents a larger wheels. next thursday, she will have mayor lee on a bicycle. we also want to honor those who get around on much smaller wheels. the other person who will try to get mayor lee on to those wheels is david miles. >> i am david miles, the exec director of the california outdoors sports association. my life revolves around recreational asphalt. when you remove the cars, you create recreational space for
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the 21st century person. sunday streets embodies all that. there have been a lot of things i have been involved with over the years. when you liklook at sunny stree, when we first started this, they did not like it. they gave us scenarios of how things would not work out or be good. people were not going to be able to come. traffic was snarled. when you look at what we are now, you are looking at probably the most successful recreational situation ever created for the masses of san francisco. it is a fantastic thing. if you have not been there, get out to the mission district and get out to sunday streets san francisco. [applause] >> both davids made reference to the fact that there was some apprehension when it was first rolling out. folks were nervous, maybe did not get it.
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now we have a lot of people who get it. this is about neighborhoods. the mayor has made the support of neighborhoods a priority for his a administration. sunday streets is an important part of that. we have support for the mission events, the mission merchants, the mission cultural center, the community music center. one of the biggest supporters who gets it and has been around a mission for a long time advocating for residents and merchants is the co-founder and president of the lower 24 st. merchant and neighborhood association. i am happy to invite up eric. >> i am the president of the lord 24th association. on behalf of the merchants, we want to thank the mayor, a supervisor campos, susan king
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and her staff for collaborating with the neighborhood. thank you for helping to make these events happened. at the beginning, the merchants were unsure of how this would turn out. now we do have strong support from all of our merchants. sunday's streets has been positive economically with the merchants in the neighborhood bringing in flux to the corridor and creating visibility economically and physically. people can walk and exercise. thank you. come on out. [applause] >> thank you. we have seen a lot of change on valencia's street. the city invested a lot of movie improving valencia from
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15th to 19th. they have done signal timing to facilitate bicycle travel and have put in bicycle lanes. valencia has had a difficult time in the past week. supporting our valencia's street merchants and the rest of the mission merchants is even more important now. we are happy to have one of those small businesses that are the lifeblood of our neighborhoods, the owner of glamarama salon. [applause] >> thank you so much for giving me this podium to speak. i am the president of the valencia corridor merchants association and founder. i am here to speak on behalf of valencia merchants. i would like to share my experience with some the streets. a and as a merchant working with
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traffic flowing, there is a certain vibe to the corridor. it is a classic urban experience. something magical happens with sunday streets. the first thing you notice is the quiet. you year the sounds of children playing and music region you hear the sounds of children playing in music. -- you hear the sounds of children playing and music. it is transformed into a happy village. uc neighbors on the streets mingling with merchants, hanging out, playing ball, what have you. is very refreshing. camaraderie is what we need. especially as the city changes and the attack on the corridor on monday. i want to say a huge bank to to
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susan king -- thank you to s usan king for her efforts. everyone has input. that lends even more camaraderie to the folks in the mission. i would like to say thank you san francisco for being innovative and providing us this unique opportunity. i am looking forward to a fun summer with sunday streets. thank you. [applause] >> thank you. sfmta is the lead agency on the city side to make this happen. we cannot do but without support of partner agencies, the san francisco police department, traffic division, department of labor and services, office of risk-management, entertainment commission, fire department, board of san francisco, planning department, department of elections.
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a lot of people coming together to make this happen. bank you to all the folks behind me and for coming out to make these events possible. thank you for coming out. we will see you on sunday. [applause]
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>> hi, thank you all for coming here today. i am the costume and textiles creator here at the fine arts museum. it is make great honor to introduce, to present this program today. just a few things come out of respect, photography is allowed, but no flash photography. we will be taking questions from the audience, and you can submit your questions either through twitter or e-mail, and we also handed out cards to you when you arrived. the questions will happen at the end of the program. if you are not planning to tweet or e-mail, please turn your cellphone off. again, it is my great honor to have this program and conversation between susie and
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jean paul gaultier. i feel very fortunate at the fine arts museum because in fact susie mencus' son lives in the bay area and she comes frequently to visit the family. it is always my favorite time of in the exhibition, when she comes and i get to walk through the exhibition with her. it is so learnful. i wanted to share that opportunity with the rest of the bay area. one of my favorites, during the laurent exhibition, one of my favorite moments is one suzy stopped in her tracks. she said, this is it, this is what is true of any great artist or any great designer. when they do something, it can be shocking and avant-garde, but years later, we stand and look at it and believe it has always existed. i think that this is true of jean paul gaultier's work.
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i know that have been friends for a very long time. it is my honor to introduce both suzy menkes, fashion editor of the international herald tribune, and mr. jean paul gaultier. [applause] >> the love seat. [laughter] i just want to know, can you hear me? please shout loudly if you cannot. [laughter] yes or no, you can hear? >> somebody said no. >> mic people, can i be heard? should i start? ok, good. so before i introduced one of
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the funniest, wittiest, most amusing and funkiest designers that i know, i would like to start with something a little bit more serious. you know, in fashion, the reason that people laughed seem obvious when you see the exhibition of all it's incredible glory and excitement. but at the same time, there were real reasons why designers laughed, and one of them, when it comes to jean paul gaultier, is probably what is talked about least. it is the technique, the skill, the handwork, the knowledge. sometimes it gets buried underneath the fantasies of the close. but if you look hard, particularly those of you are going to go to the exhibition afterwards, if you look on one side to see the incredible punk can-can clothes, while,
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exciting, a waterfall. then you look at the central lie all which is the per region and parts, you'll see the extraordinary crest -- kraft mentioned that can turn address and to have a jacket and half the skirt or can make a trench coat one of jean paul gaultier's iconic pieces and send it that is a trenchcoat but is also a pair of shorts. these kind of things, they're not tricks. their works of extraordinary skill. if you search in the exhibition, you will find that. you'll see the very early years that jean paul spend when he was learning paris couture. eglin said this young man looking very serious as he sits -- you will see this young man looking very serious as he sits and you will realize this is not a miracle. there was a solid basis. the other thing i want to say is that, you know, they're not many designers are around here changed the course of history.
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because when it comes to fashion, yes, there are lots of things that we see. lots of excitement, lots of fralala going on, but we do not often see things that you realize have captured the moment in time. and that is what i think you'll find in this exhibition. but i do not want to talk anymore, because those are actually some of the believes that you have come to listen to jean paul gaultier and not suzy menkes. [laughter] so jean paul, i really wanted to ask you, thinking we're going through the exhibition from the beginning, the power you give women with the sexuality with the corsets, that actually was very much a reflection of what was going on when you did it. can you tell us about those madonna corset years? >> yes, it is a kind of a reflection of what is happening.
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also a reflection of -- [unintelligible] it means i have been educated with women. when were very important for me, my grandmother, my mother. they give me and show me threw themselves an example of what women wear. women that were strong, a clever, human. and at the same time, sometimes stronger than men. so that i realized very quickly that women could be more interesting, more clever, because of maybe education or maybe because of the fact that they have not played football, to be quiet, you know, more into things to obtain. to obtain something. they have to be 10 times more clever than the men. they have everything it themselves already at the base.
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>> that we already know we are 10 times more intelligent. [laughter] >> yes. i mean, like, men did not realize that most of the time. even if the need. the need, you know. so that, you know, truly, i felt the power of the woman. at the time, also like the woman at sleeve and that kind of thing. we admit -- we -- women reacting on taking out the bra and putting it on fire. the fire of the bra. a symbol. showing that we are as much as the men. maybe we first tried to look at men to see that we are equals. after that, it was one that would then it can be as mature, strong or whatever, than a man.
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but we also see the attribute of imagery, of seduction, which was exactly what was into it in madonna. >> so we can all understand. when you saw madonna in her appointed course it, this was not the first time you had seen womens' underwear -- in her pointed corset, this was not the first emmy had seen women's underwear. you saw it with your grandmother and the work she did. isn't there a teddy bear in bastardi -- in the story? >> the teddy bear was there. [unintelligible] for a little boy, no, you cannot have a doll. you have to have a train. i was not traumatized by the train. maybe why do not drive. but also like a teddy bear.
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i cannot put it in a dress. i cut bras with newspaper or a magazine and would use pins to make that bra. to me, it was like the silhouettes as of may be on the tv. we saw a lot of movies. so i tried to reconstitute the body of a woman. and -- >> how old were you at this point? >> i think i was around -- i was around, i was a round -- the teddy bear, i got it at 3:00, but i let him free at that time at the three years old. i let him free. i think i was around five years old that i started to take care of him. first, very important, i was --
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[unintelligible] seeing on my grandmother. she had white hair. so i was putting on the the bear a little color that was kind of blue. after that, i do not know why, but i said he has to change. so it was more red, which was a strong color, too. then i try to make it black. that did not work. the texture of the paintings, because i was putting paintings on him, did not go with it. so i had to destroy it and start again. blue, red, start again. all the make up was the makeup of my grandmother. you can see an exhibition a teddy bear. i should say that he is a little nice monster, but it is a little monster anyway. you know, i have some affinity
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with air. i'd love the air. i love to touch the air. >> i hope you like my hair, because of a drag queen's last night were trying to touch it. [laughter] >> for the moment, i am not yet a drag queen. but you can look at that photograph of me. thank you for the inspiration. [laughter] >> well we are joking about the corsets, you say it had a message. it was not showing the women in their undergarments for sexual reasons. it was to show their strong women. certainly madonna personified that. >> definitely. >> was it actually madonna in in 1990, the blond ambition tour, but this was not the first time you had done these bras. there was a link with africa. did i get that right? >> i did not get the thing with africa.
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>> i thought that when we see -- >> yes, yes, 1985. the first corset dress, i did a collection. collections were big. it was a mix of difficulty. and the lingerie. one part was the lingerie. i did it i think in 1981. i came out with the collection in 1982. of course, i was inspired by my grandmother. but something else. musical. i saw a musical in new york. something like about the life of fellini. they made a movie of it -- only a few years ago, which was not so good, but the play was excellent. it was broadway. there was one scene where all the women were preparing themselves for the show.
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all in corset, like satin, salmon color. and i was fascinated with it. i enjoyed the show, but i was only thinking about that, i must say. after that, there was the corset of my grandmother, and at that i have to do it, but it will be a dress. i did attend different dresses. long, shorter, even like a gym suit. i didn't like my souvenir of the one of my grandmother. and it was -- i did it like my souvenir of my grandmother. and it was a lace up. there was a party at the palace, which was a club. she wanted to wear that. she cannot drink because i did it truly like a real corset. laced up all along the back. no drink, because to go to the
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toilet, what can she do? she could not put it back. [laughter] she would be in little to nothing. [laughter] >> the title of this exhibition is the idea of going from the street to fashion. from looking at things that are in the street and turning them into fashion or is it the other way round. do you in fact look at the street and see immediately things that are already fashion? are you inspired by that? >> i should say that i have, to be honest, i did not see very clearly by what i was inspired. i do not know if there is, like, a first-time -- i think it can be everything. but i know i was touched by the things that i think a beautiful, and things that are from the street. like maybe why i also have a kind of obsession, i love to work with denim. it was not so